The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the week:  ‘Niagara’ by Boys Get Hurt feat. Polvo Disco

Already out a few months, but this Boys Get Hurt track still worth a mention I reckon. Dreamy-yet-catchy synth-pop, starting with, after 8 seconds, a little beat, some percussion, and after the twenty second mark you really get the synths in there to give it this pop effect. When the vocals come in you have a little cymbal in the background, some synths, and when he starts with the verse you have a bass sound dictating the rhythm. They change it up nicely before and after the chorus, in which he asks Just tell me how it feels, I want to stay. The track has a nice breeziness, very easy-on-the-ear, and it knows when to add the rhythm elements to get all them peepz dancing again.

‘LIV’ by Jeremy Glenn

This one starts with a bit of pizzazz, it has got this naughty little synth line going, as if something is going to happen tonight (oh-la-la!). The vocals in the verse start out rather rhythmic, though just before the minute mark Jeremy Glenn already starts showing his range a bit. And surely, his vocals are always stand-out, so no exception here. I like the bridge from the chorus to the next verse about 1:20, he has a nice little beat going on there. And, as said, I like the feel of the track, it kind of has this I-want-to-rock-with-you feel, which during the chorus gets a bit reigned in as Glenn shows off how long he can do with one breath. Definitely has the pace and the vibe of something to dance to, preferably with someone you fancy (which, I reckon, is preferable 9 out of 10 times, but you get my drift).

‘Evil Eyes’ by Roisin Murphy (Hercules & Love Affair Remix)

‘Evil Eyes’ is my personal favorite from Roisin Murphy’s new album, and Hercules and Love Affair are always my personal favorite for whatever. Though, truth be told, the albums I’m more fond of than the remixes more often than not, as that skews more to the disco and vocal house, where the beats in the remixes are often a bit colder, more techno infused. But all is forgotten at about 1:40, really, when the combination of that beat with the bass and Murphy’s impeccable vocal delivery is golden. And, to be honest, it are especially the latter two which make this one such a joy, though the beat is good to have there if only to give all the danceclub people something to hang on to as they’re jacking their body. Andy Butler knows to pay reverence to Murphy, her vocals being used spot on. Very clear, nothing to cloud them. Another lovely change-up at about 3:50, and those are the moments that really show the expertise at work here. When the vocal delivery changes at about 4:25 a new instrument is added, and these are the little things that all put it above the fray.

‘Inspiration Information’ by Shuggie Otis (Dino Soccio Rework)

Dino Soccio has taken on ‘Inspiration Information’, a 1974 track by Shuggie Otis, of which the similarly named album was re-released in 2001 by David Byrne’s independent label. How about that, eh? Soccio starts with a slow power beat with some echoing vocals, and at the twenty second mark he double paces the beat and throws in a shitload of vocals along with some other sounds to make sure you’ve got something to listen to. Just after the minute mark you get the beat, a verse, and a little bass and what I think is organ in there. Around 1:40 Soccio makes sure you get plenty of the vocals and backing vocals as he dials down the beat for a moment, bringing it back at the two minute mark. It has got this California laid back feel to it, though you can definitely be grooving to this on the dancefloor a little as well. At about the 3:20 mark you get this lovely moment sans beat again, during which he gets that funky guitar going. Lovely rework of something that I, for one, haven’t been hearing a lot of on the dancefloor.

‘Haus Party’ by Colour Vision

Colour Vision has created this one aimed for the dancefloor, so it makes sure to start of with the beat and some other rhythm and percussion elements, including a bass sound that enters at about the forty second mark along with some of that ol’ hand percussion. At the minute mark he dials the beat back to get to the talking vocals, repeating the title, just to make sure that you know you are at a Haus Party and that you should be dancing, Okay? And the bass sound that immediately comes in after can sure make the people working it. Very bouncy, and the synth line on top makes sure it doesn’t get too deep all the time (as well as the Florida bell percussion he’s got going there).  The next time around he comes back not only with the bass, but with the beat as well, and it all just reinforces that this is made for a House party for you to get housing too. This one comes with some remixes, including one by Boys Get Hurt, who is featured somewhere else in this column as well.

‘There Must Be Love’ by David Morales & Janice Robinson (Disco Juice Radio Mix)

Just wanted to make sure that there was some unabashed disco in here as well, and this Disco Juice Radio Mix certainly fits that bill. It’s got the strings going, the dramatic drums, the diva vocals singing about love, and of course a frantic pace to get dancing to. Meandering right through this dancefloor madness is a little piano as well, and the girls at the back make sure to support their leading lady, singing that despite all the painful moments that love brings, yessir, There must be love. The drums make sure to keep this one on pace and ready for the dancefloor, and all the auxiliary sounds just bring the disco. The vocals, too, and the subject matter, also, are just classic disco for people to shout along to as they’re going all out (which you certainly can on this one). It also has this uplifting vibe, also very fitting for the genre, and the last part even brings a bit of that church in there as well. Just one of those things that you could slide into any disco set where the dancing will show the people’s appreciation for your choice.

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the week:  ‘Baby Let Me Kiss You’ by Get Down Edits

How about a nice little slow burner, eh? Some nice synth and kick action to get this one started, adding a nice, lazy bass sound in there after about 50 seconds as the synth picks it up a little bit. Later on you get all those lovely rhythm & blues horns in there as well, with the vocals of Fern Kinney coming in after about the two minute mark, singing Let me do it to ya, let me kiss ya baby (oh, behave!). In the mean time this track just keeps on rolling on, slightly upping the pace at about 2:50. 3:10 sees the introduction of the backing vocals, adding yet another layer to this one (which has been build-up instrument for instrument, addition for addition). At about the four minute mark you get those synths in again, which just add this little bit of a different sound to the rest, to counterbalance the more downtempo feel all the other things exhume. I just love this slow burning disco sound, with a bit of cheekiness added with the vocals for some dancefloor flirting and fun. And it keeps rolling on for about eight minutes, which is all kinds of fine by me.

‘Nasty’ by Bill & Ted

Jacques Renault teamed up with Slow Hands to create a funky little number, which is pieced together quite nicely. I just love the female vocal lines doing the daya-du-da over that little guitar riff they came up with. In the mean time a female voice is saying that she cannot keep control, after which this one slides into a nice little instrumental bit at about 2:10, which then sees the female vocals coming out from behind to get a bit more front and center. Then, a short moment where they dial it down, after which they come back with the female vocals again, asking if Tonight, are you gonna come with me. Cue, some moaning over the funky base that they have been riding all throughout this song, with the guitar leading the pack and the bass providing the groove. Add some horns in around the five minute mark as the vocals go real old school before the boys get that bass back and working for some of that funky-dancefloor-lovin’. Admittedly, the fakir sounds around the six minute point seem a bit random, but then they slide it back into what can best be described as the chorus part with the female vocals asking if you think she’s a nasty girl, as they pick up the pace slightly. It’s a lovely, nine minute affair with some of that cheeky funk and groove. Not too fast-paced, but ideal for some dancing and having fun, with smiles all around.

‘Let It Carry You’ by Jose Gonzalez (Dino Soccio remix)

This one starts out with this summery, laidback atmosphere. It’s got a nice, slow build-up with a little bass, some handclap-like sounds, some additional percussion thrown in there; and it isn’t until after about a minute that a beat comes in. But, a rather soft, understated beat, one you could dance to, but preferably at a pool party with a cocktail in your hands. Then the vocals come in, aided by a bit of acoustic guitar, and still that little bass to keep things grooving a bit. The vocals, too, pretty laidback. There’s just no immediacy to this track, just this groovy little pace that soundtracks your day in the Bahamas. Even so much so that the vocals at one point sing that There is nothing wrong. Even the build-up and subsequent pay-off is not for big club cheers instigated by massive drops, but it keeps it all tremendously mellow. The choice of instrumentation underlines the feel for this one, so if you just want to be chilling out a bit after a day of clubbing, this one might just do the trick for you.

‘Call It Love (If You Want To)’ by George FitzGerald feat. Lawrence Hart

This start takes you to the heart of Asia (before they get the beat in that is, assuming that this does not constitute as a typically Japanese kick or whatever), with then Lawrence Hart coming in, singing in his deep, reverbed aided voice, that If you want to call it love, you call it love. Which no one has ever said just before sliding on the ring and dropping down on one knee. At 1:45 the track really gets firing on all cylinders, as the vocals are there combined with not just the thuddy beat, but also with the layers of synth that kind of soften that sound. At about 2:15 there’s a break, after which George FitzGerald comes back with some superb piano, putting that one right front of center. Then the Asian sounds are flown in again (see what I did there?), and then the vocals come back with the beat to get this one to its end with a bit of pace to it. His album is currently streaming at different places, so if this takes your fancy, do give that one a spin.

‘Ghost’ by Lane 8 feat. Patrick Baker

I like the combination of the percussion, the melancholic vocals, and the sad piano to get this one started. After that you get the drums in to also give it a bit of a dancey vibe, though the synths keep this in the dancing-the-blues-away kind of realm. He breaks the drum & synth up for a minute, going back to the piano and the vocals combo, singing that Nothing works quite like it is supposed to. After that he slides the drums back in, giving everyone an opportunity to shuffle their feet again, with the ending really finding him in synth-pop realm despite the tone of the vocals and the narrative that goes with it (“Everything just looks so see-through”, which I’m sure is more awesome in puberty than when hitting adulthood). Lane 8 is gearing up to release his new album called Rise, this one being the lead-off single for that.

‘Who Shot Ya?’ by Kon

So probably you have, at one point or another, heard either Bob Marley’s or Eric Clapton’s version of ‘I Shot The Sheriff’ (but hey, at least I didn’t shoot the deputy!). Kon takes on a different version though, using Nile Rodgers' guitar and a more contemporary take on the tune (my brain is not functioning because of a cold, but it somehow reminds me of that N.A.S.A. one of not too pre-historic nature). Now, that version was already a bit more funky and catchy, but leave it to Kon to amplify that by a bunch, making it a nice dancefloor track with a little beat, but also the horns, the vocals, and thus a smithering of guitar as well. Just giving it that dash of funk that will help people shaking their hips a little. Love the bass and how that comes in after the “chorus” at about 2:15, gives it a nice kick, and that guitar just gives it that nice bit of edge that I like. As said, Kon knows how to create something and give it a bit of that funk or disco flavour, so anything by this guy and you know you have something extra to throw in your set and get people doing what they do when in the discotheque. And even the dad-rock enthusiasts among your friends can sing along with this one, claiming both bad-ass shooting skills and a merciful nature.